Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tonga and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1977.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rufus Thomas to the rock kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Wings. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Clear Light,
Rotary Connection,
Gary Puckett & The Union Gap,
The Flesh Eaters,
Dennis Brown,
Ten City,
Amon Düül,
Rekid,
Swell Maps,
Rites of Spring,
MDC,
Marc Romboy vs. Booka Shade,
10cc,
Barrington Levy,
Alison Limerick,
Saccharine Trust,
Public Enemy,
Wighnomy Brothers & Robag Wruhme,
the Soft Cell,
Godley & Creme,
Deadbeat,
Scrapy,
Wolf Eyes,
Albert Ayler,
Sly & The Family Stone,
Quando Quango,
John Holt,
Deakin,
Judy Mowatt,
Alphaville,
The Men They Couldn't Hang,
Graham Central Station,
Ultramagnetic MC's,
The Alarm Clocks,
Main Source,
A Flock of Seagulls,
Leonard Cohen,
Oneida,
Motorama,
Althea and Donna,
Zapp,
The Dead C,
Popol Vuh,
DeepChord presents Echospace,
Bronski Beat,
Marshall Jefferson,
The Selecter,
Radio Birdman,
Buzzcocks,
Strawberry Alarm Clock,
Blancmange,
Audionom,
New York Dolls,
Gong,
John Lydon,
Drive Like Jehu,
Inner City,
Avey Tare & Kría Brekkan,
Y Pants,
Morten Harket,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.